[acc-cca-l] NEXT FRIDAY! THIS IS THE FEMINIST ARCHIVE FINAL 2025 SCREENING

[Emily Barton]

[△EXTERNAL]


The Feminist Recycling Group presents....The Feminist Feature & Short

Please join us for the final screening of our 2025 series, "This is the Feminist Archive," at CineCycle (129 Spadina Ave) next Friday, May 2 at 7PM. We will be screening our Feminist Heritage Minute, Walking the walk: The Toronto Women's Bookstore (2025), and Shelley Niro's Honey Moccasin (1998). The screening will be followed by a short Q&A with Marusya Bociurkiw and Niro (who will join us via zoom). Light snacks and refreshments will be provided. Please register here<https://www.eventbrite.com/e/this-is-the-feminist-archive-honey-moccasin-walking-the-walk-tickets-1303281803959?aff=oddtdtcreator>.
Shelley Niro is from the Mohawk Nation of the Haudenosaunee (Iroquois Confederacy) and is a member of the Turtle Clan from the Oshwekon, Six Nations Reserve in Ontario, Canada. Born in the United States in Niagara Falls, New York, Niro occupies a space distinguished by her multi-nationality. Her inherent right to belong to traditional territory overlapping colonial borders supports her fluid creative perspectives.
 Shelley Niro’s practice as a painter, photographer, sculptor and filmmaker has garnered acclaim and accolades at many levels, commanding critical attention including an Eiteljorg Fellowship and the Woman in Film/GM Acceleration Grant. Her contemporary Indigenous perspective is based upon traditional knowledge; her sense of community and colonial critique re-contextualized through matriarchal wisdom, metaphor, masquerade and related expressions of sovereignty. In her flirtatious work Mohawks in Beehives (1990), a hand-tinted photographic series, Niro re-introduced the world to the complex nature and authority of the matriarch, a figure from traditional and contemporary societies that was oppressed under forms of colonialism. By re-addressing matriarchal matters, Niro confronts forms of power, stereotypical attitudes, sexuality, and society. Her aesthetics are doused with humor, play, adornment, and kitsch. [via Women Make Movies]
This is the Feminist Archive: Canadian Film & Video 1970s-1990s
The six events in the series, screenings accompanied by conversations with the artists, recontextualize feminist film and video work as constitutive of archival futures; a future imperfect: what will be seen to have been. Too often, feminism is narrated and historicized as wholly outdated/transphobic/racist, invisibilizing BIPOC feminists who were leaders in the Canadian feminist movement and its art practice. Feminists themselves may attempt to disavow previous iterations of the movement. And yet, many examples of early feminist video engage, or invent avant-garde strategies, while also engaging in intersectional interrogations. The delimiting of the history of feminisms implicitly excludes much of the intersectional cultural work that was central to feminist projects. This is especially pertinent as American hegemony – the undoing of abortion rights, the war on trans bodies – continues to inform local and national contexts in Canada. The films and videos in the programs come from the last three decades of the 20th century when feminist political organizing was inextricable with women’s cultural production.


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